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Clare in the Community original artwork and accompanying items by Harry Venning for the Guardian.

Administrative/Biographical history: Harry Venning is a British cartoonist, illustrator and comedy writer. He has contributed regularly to the Guardian since 1996 in the form of the Clare in the Community cartoon strip which appears in the Society pages and which since 2004 has also been made into a programme for BBC Radio 4. Venning's other work has appeared in the Mail On Sunday, the Sunday Telegraph, the Independent, the Sunday Times, The Stage and the Radio Times, as well as publications in Canada, Switzerland, South Africa and New Zealand and in numerous books. Venning currently lives and works in Brighton.
Creator: Venning; Harry: illustrator

The collection holds a near complete set of portrait and photo-journalistic work produced by Jane Bown between 1947-2008. It also contains personal papers, work books, correspondence, diaries and artefacts relating to all aspects of Bown's photographic practice.

Administrative/Biographical history: Jane Bown was born in Dorset and educated at William Gibbs School, Faversham. She became a chart corrector for the WRNS, (1944-46) before studying photography at Guildford School of Art, Surrey from 1946-50. She joined the Observer in January 1949 and her first published work for the paper (a portrait of Bertrand Russell) was printed the same month. From 1964 to 1967 she worked in colour for the newly launched Observer Colour Magazine but disliked it and returned to working predominantly in black and white. Her extensive photojournalism output includes series on gypsies, Greenham Common evictions, and in 2002, the Glastonbury Festival. Her sitters include Queen Elizabeth II, Jean Cocteau, Samuel Beckett, Woody Allen, John Betjeman, Jayne Mansfield and the Beatles. Exhibitions include 'The Gentle Eye', National Portrait Gallery, London (1980-1); 'Rock: 1963-2003', The Newsroom, London (2003), 'Unknown Bown', The Newsroom (2007). Group shows include 'How We Are - Photographing Britain, Tate Britain, London, (2007). Publications include 'The Gentle Eye' (1980), 'Women of Consequence' (1986), 'Men of Consequence' (1987), 'The Singular Cat' (1988), 'Pillars of the Church' (1991), 'Faces: The Creative process Behind Great Portraits (2000), 'Rock: 1963-2003' (2003) and 'Unknown Bown' (2007). Jane died at home in Hampshire in 2014.

Digital prints of photographs taken during assignments for the Observer Magazine in the 1960s, although not all were published in the magazine. All titles are supplied by Ian Berry for an exhibition of his work held in 2007; some vary slightly to the original captions used in the Observer Magazine.

Administrative/Biographical history: Ian Berry grew up in Lancashire but moved to South Africa at the age of twenty-one. He worked for various publications including Drum and the Rand Daily Mail. He was the only photographer to document the Sharpeville massacre, and his photographs were later used in the trial proving the victims' innocence. He left South Africa in 1961 and in 1962 he relocated to Paris where he was invited by Henri Cartier-Bresson to join Magnum Photo Agency. He moved to England in 1964 where he joined the Observer Magazine (under the editorship of Michael Davie, Paul Mandel and Bryn Campbell) as its first contract photographer. He contributed to the Observer magazine between 1964 and 1970. His publications include 'The English' (1978), and 'Living Apart' (1996).

Original artwork by Ian McNee for the Guardian Weekend supplement, which later became Weekend magazine. Also includes cuttings from Weekend featuring Ian McNee's artwork.

Administrative/Biographical history: Provided illustrations for the Guardian, mainly the Weekend supplement from 1991-97. Also contributed illustrations for Guardian Friday, Women's Page and Music. Also contributed editorial work for the Observer.

Children's book designer and illustrator for Usborne publishing 1990-2004. Freelance illustrations for Usborne 2004-2011

Collection of original artwork which featured alongside articles, predominantly in the Guardian, but also in other papers. Also includes a drawing for the exhibition at Kings Place in 2011.

Administrative/Biographical history: James A Sillavan (JAS) studied advertising at Manchester School of Art in the early 1970s. Returning to the UK after a year in Colombia he went into magazine design and ended up as a layout artist on the Daily Express. In 1991, Sillavan was offered the post of diary cartoonist on the Times. This was followed by a move to Paris in 1996 where Sillavan took up photography. Sillavan received his first Guardian commission in 1999, changed his 'sign off' to JAS and began cartooning again, providing the Guardian with two illustrations per week. In the years that followed, Sillavan’s cartoons accompanied hundreds of articles across various sections of the paper, most commonly the Education and Comment & Debate pages. As well as the Guardian, Sillavan’s work has appeared in numerous other papers including the Observer, Financial Times, Daily Telegraph and the Economist.

Contains records relating to the administrative running and establishment of the company, legal agreements with UK television companies, proposals for potential productions and publicity and research material relating to individual productions. Also includes copies of broadcast productions of the Observer Film Company.

Administrative/Biographical history: The Observer Film Company was established in October 1988, primarily as a result of negotiations between television producer Kimi Zabihyan, freelance journalist Andrew Drummond and The Observer's then-editor Donald Trelford for the establishment of an independent factual film production company with financial backing from the Observer.
The first documentary to be produced by the company, 'Lord of the Golden Triangle', an expose on the Burmese drug baron Khun Sa, was broadcast on ITV on the 12th July 1989. This was co-produced between Drummond and Zabihyan, who had previously been a producer at Picture Partnership Productions. Zabihyan produced most of the company's productions.
The company continued to produce programmes for all the major UK television companies, including the BBC, Channel 4 and ITV, until 1995. Over 30 productions were made in the first four years of the company's existence, covering UK domestic issues and many of the main issues of interest in international journalism from the time. These included various productions on the sectarian violence in Northern Ireland, investigations in China and El Salvador, various productions on the Soviet Union (including an interview with Andrei Gromyko, conducted just a few months before his death), gang culture in the ghettos of Kingston, Jamaica and an investigation into the testing of chemical and biological weapons by the MoD on unsuspecting British soldiers.
The company became part of Guardian Newspapers Ltd when the Observer was acquired by Guardian Media Group in 1993, continuing to operate under the same name. The Observer Film Company was wound-up in December 1995.

Records of the Observer newspaper, mainly dating from 1920s onwards. Includes: board minutes and papers; correspondence and subject files of managing directors; financial papers; staff files; correspondence and papers of Observer editors David Astor and Donald Trelford; picture desk prints and negatives; printing, circulation and distribution statements and television adverts.

Few documents relating to the Observer's early years are known to have survived and the majority of those that have survived remain within private collections. For example, the archive of JL Garvin (editor of the Observer 1908 - 1942) is held by the Harry Ransom Humanities Research Center at the University of Texas.

Administrative/Biographical history: As befits the oldest Sunday newspaper in the world, the history of the Observer is a volatile and varied one. The paper was founded in 1791 by WS Bourne on the simple premise that "the establishment of a Sunday newspaper would obtain him a rapid fortune"; within three years Bourne found himself £1,600 in debt. Though early editions of advertisements for the paper promised a paper "Unbiased by Prejudice - Uninfluenced by Party...Whose Principal is Independence", Bourne attempted to cut his losses and sell the title to the government. They declined.

In its first century, the Observer was in varying degrees a scurrilous gossip sheet, government propaganda rag and provocative thorn-in-the-side of the establishment. Throughout the nineteenth century, however, the paper's character changed and came to reflect the more sober morality of the age.

In 1820 proprietor William Innell Clement defied a government ban on reporting proceedings against the Cato Street conspirators, refused to appear in court and left a £500 fine unpaid. This victory for the freedom of the press became characteristic of the paper in future years, and was typical of the Observer as it developed a reputation for serious coverage of politics and literature.

Some glamour was restored to the title by Frederick Beer, who installed his wife Rachel (Siegfried Sassoon's aunt) as editor in 1891. Under her control the paper achieved one of its greatest exclusives: the admission by Count Esterhazy that he had forged the letters that condemned innocent Jewish officer Captain Dreyfus to Devil's Island. The story provoked an international outcry and led to the release and pardon of Dreyfus and court martial of Esterhazy. She was a remarkable woman - not content with running one national newspaper, she managed to combine editing the Observer with the same job at the Sunday Times.

When the Observer entered the twentieth century, the paper was owned for a brief time by Lord Northcliffe, who appointed JL Garvin to the editorship. Garvin was a maverick Tory who contrived to edit the paper almost exclusively via a special telephone line installed between the newspaper office and his luxurious house in Beaconsfield.

It was not until 1948 that the paper became genuinely free from political allegiance, when David Astor was made proprietor and editor. Astor turned the paper into a trust-owned non-party publication and helped to establish its reputation as the voice of post-war liberal Britain. During this period many famous writers were on the staff, including George Orwell, Conor Cruise O'Brien, and more infamously Kim Philby.

Between 1977 and 1993 the paper was owned by two large international companies, first Atlantic Richfield and then 'Tiny' Rowland's company Lonrho. A controversial period in the paper's history reached its climax with the bitter battle between Rowland and Mohamed Al Fayed for control of the department store Harrods. When the Department of Trade and Industry published a damning report into the conduct of Mr Fayed, editor Donald Trelford took the momentous decision to print a midweek edition of the paper.

The birth of the Independent and subsequently its sister title The Independent on Sunday increased the pressure on the Observer in what was an already crowded Sunday broadsheet market, and when it became clear that the paper was for sale a merger between the two Sunday titles was mooted. Faced with the acquisition of a natural ally by a major competitor, the Guardian Media Group acquired the Observer in 1993. As a result the Observer has been able to maintain its editorial independence, ensuring the continuation of the paper's long-standing tradition of liberal politics and independent journalism.

The Observer has continued its reputation for setting, rather than following the news agenda, breaking stories including exposing the cash-for-access scandal dubbed Lobbygate, and leading the way in covering of issues like GM foods and cloning.
Roger Alton, editor 1998-2007, defined the paper's stance in the context of a long and varied history: "The Observer is Britain's oldest Sunday newspaper and it has been making mischief, poking its nose where it shouldn't and reporting the best in arts, culture, politics, sport, business and skulduggery for over two hundred years. We aim to keep it that way and maintain its position as Britain's most exciting Sunday newspaper."

On 8 January 2006 The Observer relaunched in a Berliner format becoming the UK's only full colour Sunday newspaper, and in 2007 The Observer was named national newspaper of the year at the British Press Awards.

In January 2008 John Mulholland was appointed editor of the Observer, replacing Roger Alton who had edited the paper since 1998. At the end of 2008 The Observer moved from its home in Herbal Hill, Farringdon, to new offices shared with the Guardian in King's Cross.
Creator: Publishers of The Observer Limited, fl.1907-1910
Creator: The Observer Limited, 1917-1993
Creator: Guardian News & Media Limited, 1967-

Original artwork which accompanied Monday Profile articles in the Guardian. Clarke created these caricatures through the manipulation of photographs.

Administrative/Biographical history: Peter Clarke joined the RAF at 16, but moved to working in Fleet Street following his discharge 6 years later. He started in an administrative role at the Daily Express found for him by an ex-pilot friend, but then moved on to the role of political cartoonist at the Daily Sketch and then Picture Editor at the Daily Mail. He joined Gemini News Service in the late 1960s, working all over Africa and became managing director of GeminiScan, the subsidiary company of Gemini which produced graphics for the news service. He left Gemini in 1980 and joined the Guardian where he stayed until the late 1990s. Clarke was known for his inventive artwork which combined pen and ink with technology - he was the first Guardian staffer to use the then unsophisticated graphics capabilities of Apple Macs. In 1988 he won the Cartoonist of the Year award.

Collection comprising of a chronological 35mm negative sequence which represents the full timespan for which Johns worked as staff photographer for The Guardian in London (1965-80), plus some more recent pictures taken in his retirement. There is also a smaller sequence of vintage subject prints printed by Johns.

Administrative/Biographical history: Born in Swansea, Peter Johns trained as an art teacher and illustrator at the city's art college. He started work in the 1950s as illustrator, and later photographer, for the South Wales Evening Post and Herald of Wales before a series on Welsh miners shot on a Rolleiflex camera caught the attention of both The Observer and The Guardian newspapers. He relocated to London as a full-time freelance photographer in 1961 and became a staff photographer for the Guardian in October 1965. He retired from the Guardian in 1981.

His body of work executed whilst working for The Guardian reveals a rich seam of photojournalism - an output which includes series on the Aberfan disaster, National Front marches and dock strikes, as well as various portraits including Anthony Quinn, Sam Wanamaker, Tennesse Williams, Anita Harris and a rare glimpse of Henri Cartier-Bresson. More recent series include documented scenes in Whistable, Hastings Old Town and Portugal, some of which, for the first time in Johns career, are shot in colour.

Documents that relate to Mary Crozier. They include a photograph, correspondence with Guardian staff, details of her employment at the Guardian and other media work, and recollections written by Crozier in 2002.